{"id":1457,"date":"2022-07-31T21:00:00","date_gmt":"2022-07-31T21:00:00","guid":{"rendered":"https:\/\/atras-univ-saida.dz\/en\/?p=1457"},"modified":"2025-02-01T15:51:56","modified_gmt":"2025-02-01T15:51:56","slug":"that-ebb-and-flow-by-th-moon-the-dynamics-of-flow-theory-and-optimal-experience-in-william-shakespeares-king-lear","status":"publish","type":"post","link":"https:\/\/atras-univ-saida.dz\/en\/?p=1457","title":{"rendered":"Article 03 Issue 02 VOL 3 January 2022"},"content":{"rendered":"\n<div id=\"section-gd8d91d\" class=\"wp-block-gutentor-e1 section-gd8d91d gutentor-element gutentor-element-advanced-text text-align-center-desktop text-align-center-tablet text-align-center-mobile\"><div class=\"gutentor-text-wrap\"><h1 class=\"gutentor-text\"><strong>Title:&nbsp;<strong>\u201cThat ebb and flow by th\u2019 moon\u201d: The Dynamics of Flow Theory and Optimal Experience in William Shakespeare\u2019s <em>King Lear<\/em><\/strong><\/strong><\/h1><\/div><\/div>\n\n\n\n<div id=\"section-gd061e5\" class=\"wp-block-gutentor-e1 section-gd061e5 gutentor-element gutentor-element-advanced-text text-align-center-desktop text-align-center-tablet text-align-center-mobile\"><div class=\"gutentor-text-wrap\"><p class=\"gutentor-text\"><strong><strong><strong><strong><strong><strong><strong><strong>Zied Ben Amor <\/strong><br>English Department, Faculty of Arts and Humanities of Sousse, University of Sousse (Tunisia)<\/strong><\/strong><\/strong><\/strong><\/strong><\/strong><\/strong><\/p><\/div><\/div>\n\n\n\n<div id=\"section-g2f4f04\" class=\"wp-block-gutentor-e1 section-g2f4f04 gutentor-element gutentor-element-advanced-text text-align-left-desktop text-align-left-tablet text-align-left-mobile\"><div class=\"gutentor-text-wrap\"><h1 class=\"gutentor-text\"><strong>Abstract:<\/strong><\/h1><\/div><\/div>\n\n\n\n<div id=\"section-g9cf810\" class=\"wp-block-gutentor-e1 section-g9cf810 gutentor-element gutentor-element-advanced-text text-align-justify-desktop text-align-justify-tablet text-align-justify-mobile\"><div class=\"gutentor-text-wrap\"><p class=\"gutentor-text\">The aim of the research is to apply Csikszentmihalyi\u2019s flow theory to William Shakespeare\u2019s<em> King Lear<\/em>. Commonly, flow and optimal experience are equated with happiness as well as positive characters since they pertain to the realm of positive psychology. The analysis has demonstrated that tragic and\/or agonising characters can endure flow and optimal experiences amid cathartic situations. The challenging part of the research has shown that flow and optimal experience are likely to happen with villainous characters performing wicked deeds. The applicability of the flow theory on King Lear as a tragic hero who is not forcefully wicked has been demonstrated. The Fool\/Lear relation has been scrutinised to prove that their intertwining has reinforced flow and created feedback. Edmund\u2019s soliloquy is not an embittered speech by a malcontent as conventions have shown; it is rather an optimal experience exhibiting important flow components such as freedom and focus. Moreover, there is semantic parallelism between plot and subplot as for the interconnectedness between flow and evil characters. The study of the mutilation scene orchestrated by the wicked sisters and Cornwall shows that flow does not require that the executed task should be of a benevolent nature; it does not also require that the perpetrator of the action ought to be good-natured or warm-hearted. Flow and the optimal experience can happen amid chaotic, violent, criminal, and even sadistic acts<\/p><\/div><\/div>\n\n\n\n<div id=\"section-g7e9026\" class=\"wp-block-gutentor-e1 section-g7e9026 gutentor-element gutentor-element-advanced-text text-align-left-desktop text-align-left-tablet text-align-left-mobile\"><div class=\"gutentor-text-wrap\"><h1 class=\"gutentor-text\"><strong>Keywords:<\/strong><\/h1><\/div><\/div>\n\n\n\n<div id=\"section-g5956e8\" class=\"wp-block-gutentor-e1 section-g5956e8 gutentor-element gutentor-element-advanced-text text-align-justify-desktop text-align-justify-tablet text-align-justify-mobile\"><div class=\"gutentor-text-wrap\"><p class=\"gutentor-text\">Flow theory, focus, <em>King Lear,<\/em> optimal experience, Mihaly Csikszentmihalyi<\/p><\/div><\/div>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full is-resized\"><a href=\"https:\/\/drive.google.com\/file\/d\/10Ip9XFx1kBhRZ_IwsgMe0lqH1KiWmD8M\/view?usp=drive_link\"><img loading=\"lazy\" decoding=\"async\" width=\"1000\" height=\"278\" src=\"https:\/\/atras-univ-saida.dz\/en\/wp-content\/uploads\/2024\/06\/image-2.png\" alt=\"\" class=\"wp-image-1136\" style=\"width:183px;height:auto\" srcset=\"https:\/\/atras-univ-saida.dz\/en\/wp-content\/uploads\/2024\/06\/image-2.png 1000w, https:\/\/atras-univ-saida.dz\/en\/wp-content\/uploads\/2024\/06\/image-2-300x83.png 300w, https:\/\/atras-univ-saida.dz\/en\/wp-content\/uploads\/2024\/06\/image-2-768x214.png 768w\" sizes=\"auto, (max-width: 1000px) 100vw, 1000px\" \/><\/a><\/figure>\n<\/div>\n\n\n<div id=\"section-g18a767\" class=\"wp-block-gutentor-e1 section-g18a767 gutentor-element gutentor-element-advanced-text text-align-left-desktop text-align-left-tablet text-align-left-mobile\"><div class=\"gutentor-text-wrap\"><h1 class=\"gutentor-text\"><strong><strong>How to Cite this Paper:<\/strong><\/strong><\/h1><\/div><\/div>\n\n\n\n<div id=\"section-ga2fb56\" class=\"wp-block-gutentor-e1 section-ga2fb56 gutentor-element gutentor-element-advanced-text text-align-justify-desktop text-align-justify-tablet text-align-justify-mobile\"><div class=\"gutentor-text-wrap\"><p class=\"gutentor-text\">Ben Amor, Z. (2022). That ebb and flow by th\u2019 moon\u201d: The Dynamics of Flow Theory and Optimal Experience in William Shakespeare\u2019s <em>King Lear. Atras Journal, 3<\/em>(2), 39-56<\/p><\/div><\/div>\n\n\n\n<div id=\"section-gf25d4d\" class=\"wp-block-gutentor-e1 section-gf25d4d gutentor-element gutentor-element-advanced-text text-align-left-desktop text-align-left-tablet text-align-left-mobile\"><div class=\"gutentor-text-wrap\"><h1 class=\"gutentor-text\"><strong><strong>References<\/strong><\/strong><\/h1><\/div><\/div>\n\n\n\n<div id=\"section-gd44cbc\" class=\"wp-block-gutentor-e1 section-gd44cbc gutentor-element gutentor-element-advanced-text text-align-justify-desktop text-align-justify-tablet text-align-justify-mobile\"><div class=\"gutentor-text-wrap\"><p class=\"gutentor-text\">Ashinoff, B. K., &amp; Abu-Akel, A. (2021). Hyperfocus: The forgotten frontier of attention. <em>Psychological Research<\/em>, <em>85<\/em>(1), 1\u201319. <a href=\"https:\/\/doi.org\/10.1007\/s00426-019-01245-8\">https:\/\/doi.org\/10.1007\/s00426-019-01245-8<\/a><br>Ben Amor, Z. (2020). Mapping sight and Blindness in <em>King Lear<\/em>(s) of William Shakespeare and Roberto Ciulli: Towards a Poly-optic reading. <em>International Review of Literary Studies<\/em>, <em>2<\/em>(2), 14\u201333. <a href=\"https:\/\/irlsjournal.com\/ojs\/index.php\/irls\/article\/view\/21\/13\">https:\/\/irlsjournal.com\/ojs\/index.php\/irls\/article\/view\/21\/13<\/a><br>Biasutti, M. (2011). Flow and Optimal Experience. In M. A. Runco. &amp; S. R. Pritzker (eds.) <em>Encyclopedia of Creativity<\/em> (, pp. 522\u2013528). Elsevier. <a href=\"https:\/\/doi.org\/10.1016\/B978-0-12-375038-9.00099-6\">https:\/\/doi.org\/10.1016\/B978-0-12-375038-9.00099-6<\/a><br>Bjornestad, A. &amp; Schweinie A. (2008). Flow Theory. In E. Anderman. &amp; H.&nbsp; Lynley (eds.). <em>Psychology of Classroom Learning: An Encyclopedia<\/em> Macmillan Reference USA\/Gale Cengage Learning.<br>Buckels, E. E., Jones, D. N., &amp; Paulhus, D. L. (2013). Behavioral confirmation of everyday sadism. <em>Psychological Science<\/em>, <em>24<\/em>(11), 2201\u20132209. <a href=\"https:\/\/doi.org\/10.1177\/0956797613490749\">https:\/\/doi.org\/10.1177\/0956797613490749<\/a><br>Clegg, S., Courpasson, D., &amp; Phillips, N. (2006). <em>Power and organizations<\/em>. <a href=\"https:\/\/doi.org\/10.4135\/9781446215715\">https:\/\/doi.org\/10.4135\/9781446215715<\/a><br><a>Csikszentmihalyi, M. <\/a>(1991). <em>Flow: The psychology of optimal experience<\/em> (1. HarperPerennial ed). HarperPerennial.<br>Csikszentmihalyi, M. (1988). The Flow Experience and its Significance for Human Psychology. In M. Csikszentmihalyi &amp; I. Csikszentmihalyi (Eds.), <em>Optimal Experience: Psychological Studies of Flow in Consciousness<\/em> (pp. 15 35). Cambridge: Cambridge University Press.<br>Csikszentmihalyi, M., Rathunde, K. R., &amp; Whalen, S. (1997). <em>Talented teenagers: The roots of success and failure<\/em> (1st paperback ed). Cambridge University Press.<br>Da Silva Greg\u00f3rio, P. (2020). Beyond the Absurd: Beckettian Tragicomedy Recast in Adrian Noble\u2019s <em>King Lear<\/em>. <em>English Studies<\/em>, <em>101<\/em>(6), 741\u2013755. <a href=\"https:\/\/doi.org\/10.1080\/0013838X.2020.1796384\">https:\/\/doi.org\/10.1080\/0013838X.2020.1796384<\/a><br>Farsi, R., &amp; Dehnad, V. (2016). Flow Theory and Immersion in Literary Narrative. <em>International Congress of Islamic Sciences and Humanities<\/em>, 1\u20134. <a href=\"https:\/\/www.academia.edu\/34499067\">https:\/\/www.academia.edu\/34499067<\/a><br><a>Foucault, M. (2012). <em>The History of Sexuality: An Introduction.<\/em> Knopf Doubleday Publishing Group. <\/a><a href=\"http:\/\/public.eblib.com\/choice\/PublicFullRecord.aspx?p=6084793\">http:\/\/public.eblib.com\/choice\/PublicFullRecord.aspx?p=6084793<\/a><br>Garner, S. B. (2018). <em>Kinesthetic spectatorship in the theatre: Phenomenology, cognition, movement<\/em>. Springer International Publishing. <a href=\"https:\/\/doi.org\/10.1007\/978-3-319-91794-8\">https:\/\/doi.org\/10.1007\/978-3-319-91794-8<\/a><br>Gerrig, R. J. (1993). <em>Experiencing narrative worlds: On the psychological activities of reading<\/em>. Yale University Press.<br>Gosling, J. R. (2019). Take your lead: The pleasures of power in universities and beyond. <em>Journal of Management &amp; Organization<\/em>, <em>25<\/em>(03), 389\u2013395. <a href=\"https:\/\/doi.org\/10.1017\/jmo.2019.17\">https:\/\/doi.org\/10.1017\/jmo.2019.17<\/a><br>Hemming, S. (2018). Playing King Lear\u2019s Fool. <em>Financial Times<\/em>.Available at. <a href=\"https:\/\/www.ft.com\/content\/2523a684-739d-11e8-bab2-43bd4ae655dd\">https:\/\/www.ft.com\/content\/2523a684-739d-11e8-bab2-43bd4ae655dd<\/a><br>Jones, S., &amp; Gosling, J. (2015). <em>Napoleonic leadership: A study in power<\/em>. SAGE. DOI: <a href=\"https:\/\/dx.doi.org\/10.4135\/9781473921238\">https:\/\/dx.doi.org\/10.4135\/9781473921238<\/a>.<br>Nell, V. (1988). <em>Lost in a book: The psychology of reading for pleasure<\/em>. Yale University Press.<br>Ryan, M.-L. (2010). <em>Narrative as virtual reality: Immersion and interactivity in literature and electronic media<\/em> (Transferred to digital print. 2001-[im Kolophon: Milton Keynes: Lightning Source, 2010]). Johns Hopkins Univ. Press.<br>Shakespeare, W., &amp; Hibbard, G. R. (2008). <em>Hamlet<\/em>. Oxford University Press.<br>&#8212;&#8212;&#8212;&#8212;-. (2009). <em>King Lear<\/em> (R. A. Foakes &amp; R. Proudfoot, Eds.). The Arden Shakespeare.<br>Snyder, C. R., &amp; Lopez, S. J. (Eds.). (2009). <em>Oxford handbook of positive psychology<\/em>. Oxford University Press.<\/p><\/div><\/div>\n\n\n\n<figure class=\"wp-block-image size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"145\" height=\"50\" src=\"https:\/\/atras-univ-saida.dz\/en\/wp-content\/uploads\/2025\/01\/image.png\" alt=\"\" class=\"wp-image-2538\" style=\"width:119px;height:auto\"\/><\/figure>\n\n\n\n<div id=\"section-g-6264hl4\" class=\"wp-block-gutentor-e1 section-g-6264hl4 gutentor-element gutentor-element-advanced-text text-align-justify-desktop\"><div class=\"gutentor-text-wrap\"><p class=\"gutentor-text\">Copyright for all articles published in&nbsp;<strong>ATRAS&nbsp;<\/strong>belongs to the author. The authors also grant permission to the publisher to publish, reproduce, distribute, and transmit the articles.&nbsp;<strong>ATRAS&nbsp;<\/strong>publishes accepted papers under the Creative Commons Attribution-NonCommercial 4.0 International (CC BY-NC 4.0) License. Authors submitting papers for publication in&nbsp;<strong>ATRAS&nbsp;<\/strong>agree to apply the CC BY-NC 4.0 license to their work. For non-commercial purposes, anyone may copy, redistribute material, remix, transform, and construct material in any media or format, provided that the terms of the license are observed and the original source is properly cited.<\/p><\/div><\/div>\n","protected":false},"excerpt":{"rendered":"<p>Flow theory, focus, King Lear, optimal experience, Mihaly Csikszentmihalyi<\/p>\n","protected":false},"author":2,"featured_media":1282,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[187],"tags":[205,206,208,207],"class_list":["post-1457","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-vol-03-n02-2022","tag-flow-theory","tag-focus","tag-king-lear","tag-optimal-experience"],"gutentor_comment":0,"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.2 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Article 03 Issue 02 VOL 3 January 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